How has Vogue changed and influenced the development of fashion and social identities?

“Sensitive people faced with the prospect of a camera portrait put on a face they think is one they would like to show the world. Very often what lies behind the façade is rare and more wonderful than the subject knows and dares to believe.” Penn, I. (1986). Irving Penn’s Cranium Architecture 

Fashion is expressive and can be interpreted in numerous ways. Fashion does outline, express, and shape our identity. We wear things because we want ourselves and the people around us to perceive us in a way we wish to be seen. Fashion and clothing are both there as a fundamental tool in which people construct themselves. The way we dress ourselves not only gives the person attired an identity but gives insight to those around us. Sometimes we all want to construct a new identity using fashion and statement pieces, but it is a matter that is often hard to accomplish as we could be drifting away from our comfort level or our perception of our authentic identity. The way we dress is like communicating without words. Whether we like it or not, people will judge us by our appearance. Our sense of style is so greatly affected by our environment, society, and our personality. Unfortunately, society will continue to demonize others who take a unique approach to fashion. Within this essay, I aim to explore how Vogue fashion photographers Guy Bourdin, Irving Penn and Global Editorial Director of Vogue, Anna Winour, impact the fashion industry and how they help people use fashion to explore and present who they really are, without caring about the judgement of others.

History of Vogue

Vogue, influential American fashion, and lifestyle magazine was founded in 1892 as a weekly high-society journal, created by Arthur Baldwin Turnure for New York City’s social elite and covering news of the local social scene, traditions of high society, and social etiquette. Condé Montrose Nast bought Vogue in 1909 and transformed it into a women’s fashion magazine focused on beauty, composure, and etiquette. Vogue soon became known for its distinctive photographs and high editorial quality. Nast hired the best illustrators and photographers of the day, and they produced covers for the magazine that were consistently sophisticated and occasionally revolutionary. In 1932, for example, Vogue became one of the first magazines to print a colour photo on its cover. Photographer Edward Steichen shoots the first color photograph ever printed in Vogue. The July cover by Steichen marked the arrival of fashion photography in Vogue.

In the 1960s the magazine redefined the look of female models, deliberately avoiding shapely figures to highlight thin, gender-neutral physiques. Vogue’s August 1974 cover was the first to picture an African American model. Beverly Johnson becomes the first black woman to cover American Vogue. November 1988: Anna Wintour’s first cover features Israeli model Michaela Bercu. May 1989: Madonna became the first celebrity or non-model to be pictured on the cover of Vogue. 

In 1988 Anna Wintour became editor of Vogue and immediately transformed Vogue covers by emphasizing the woman’s body, rather than just her face, as well as by frequently featuring Hollywood actresses as opposed to traditional fashion models, thereby sparking an international trend. 

Vogue has enjoyed international success, with both standard and special editions published around the globe. One of the world’s most prominent fashion magazines, it has heavily influenced the development of the fashion magazine industry and continues to shape modern fashion trends. In 2009 The New York Times christened Vogue “high fashion’s bible.” 

Anna Wintour’s impact on the fashion industry

Anna Wintour is the Global Editorial Director of Vogue. Wintour moved to London and was the editor of British Vogue between 1985 and 1987. A year later, she assumed control of the franchise’s magazine in New York. Her use of the magazine shaped the fashion industry. Anna is known to have changed how the world gets dressed. Her biggest impact has been on the clothes we see on television screens and newspaper front pages. Her personal preferences have changed what we think of as stylish, “Trends,” she once said, “is a dirty word.” Wintour’s fashion advice is “Let it be unique to yourself and yet identifiable to others.” Wintour explains how the way we dress is a form of self-expression, what we chose to wear reveals a hint of who you are. She claims it is important that you are happy in what you wear and to do it for yourself instead of others. However, within this quote she explains how you are “identifiable to others” through fashion, meaning people can get to know you through what you wear and how you dress, fashion is a way of communicating your identity to others without the use of words, which can be easier for many individuals

Anna has learned that in fashion there will be several types of failures that you may face but the most important thing she learned was that sometimes you just need to take the hit and move on. Accept failure because that is how we learn. She taught the fashion industry this and in return, it gave people the confidence to try new things. No matter if they fail or not. Fashion is about getting out of your comfort zone and Anna figured out at an early age that you need to go out and try new things to see what you like and do not like. Trying new things also inspires others to think outside the box. It gives a new perspective to traditional thoughts that need to be broken. Many people are so focused on being like everyone else. Fashion is about being you and is not about wearing the same trends as everyone else. Being different is a strength that a lot of us forget is an actual strength.  

Irving Penn

Irving Penn has been known to alter our perception of beauty. He spent 66 of his 92 years at Vogue magazine. Penn first appeared in the magazine in 1943 and created an unprecedented 165 covers, more than any other single photographer. These were in addition to his persisting portraits that revealed the hidden selves of the famous sitters, the luminous high-fashion compositions shot in natural light, the portfolios of indigenous people, the flower, and small trades series. Then there were his advertising and personal projects, which ranged from studies of nudes to cigarette butts. 

The photographer might be described as a soul catcher as he was able to get to the essence of both people and objects; in addition, he had the rare ability to capture the spirit of things in a graphic way. Maria Morris Hambourg echoed that sentiment, saying that Penn’s “seriously arresting” photographs “get under your skin.” 

Penn started at Vogue in 1943. After proving his talent as a still life and portrait photographer, he was eased into fashion work by Alexander Liberman. Penn made his couture debut in 1950, photographing the latest fashion in a rickety studio, furnished with a discarded theatrical curtain. Penn wrote, “the light of Paris as I had imagined it, soft but defining.” Penn made use of this light to interpret couture in photographs that became immediately iconic. 

This image by Penn is filled with rich detail, shadow offers reliable contour to subject and the space that surrounds in an infinity of shades in white, grey, and black. The background has vast amounts of texture, contrasting with the solid black dress. Your eyes are drawn to the woman’s face as the light reflects off the high points of her cheeks. 

Women’s fashions of the 1950s reflected a complicated mix of conservatism and glamour. An hourglass figure dominated the look of the 1950s, with cinched-in waistlines and accentuated hips and busts. In Penn’s photograph he captures the elegant hourglass figure that dominated the 50’s. 

This image, taken in 1950, ventures away from the general stereotype of women during this time. Emerging from the losses of World War II and The Great Depression, most women, if not all, lost their jobs and became housewives, whilst men took back the jobs with dominance after coming back from the war, leaving women with no power or independence of their own, except when it came to fashion. This photograph of the 50s would have empowered women into being more confident and independent through their choice of clothes. The strong dark colour of the dress compared to the lighter background, gives the dress and the woman independent power which is the opposite of what woman had in that day and age, indicating that fashion played a massive role in women’s confidence, independence, and appearance. This led to women wearing trousers and shorts which was the beginning of the end to specific items of clothing being allocated to certain genders. 

Guy Bourdin

In 1955, his first fashion photos were featured in Paris Vogue in February, and he continued working for the magazine until 1987. Between 1967 and 1981, Bourdin produced some of his most memorable work under the employment of shoe designer Charles Jourdan, who became his patron. His work for Jourdan employed humanlike compositions, suggestive narratives and explored the realms between the absurd and the divine. His surreal aesthetics were delivered with sharp humour and were always eagerly anticipated by the media. After four years, he refused to accept the award Grand Prix National de la Photographie by the Ministry of Culture, France. Despite this, his name was preserved on the winners list. In the second half of the 1900s, Bourdin was among the most recognized fashion and commercial photographers. His style of photography exceeded the boundaries of traditional advertising – it was daring and had narrative supremacy. 

Widely considered to have changed the face of fashion photography forever, French photographer Guy Bourdin’s innovative voice and visionary work is no longer seen solely in the context of commercial photography but is well esteemed in the historical records of contemporary fine art. 

Man Ray, one of the greatest visual artists of the day, his multidisciplinary attitude instilled in Bourdin the idea of working without constraints. He turned his back on his formalist training and adopted a rigorous understanding of surrealist principles. Man Ray taught him to use graphic imagery and exaggerated lighting in his photography, and this period of apprenticeship was fundamental in influencing his style for the rest of his career. By 1968, he was continually finding new and exciting ways to challenge perceptions of commercial fashion photography.

For Bourdin, fashion was more than just clothes, his work was very abnormal and extraordinary. His photographs featured vivid colors, partially told stories and strong use of sexual imagery. He is often referred to as one of the most important visual artists of the last century, and his bold, graphic style of imagery continually challenged the long-held traditions of what fashion photography could be. His work strongly influenced the fashion industry, Bourdin thought outside the box when it came to his photographs, they include bright solid colours and were somewhat graphic. He didn’t care when it came to what people thought and that is one of the reasons he became so successful, his carelessness lead him to be highly appreciated within the fashion industry, and this influenced many other fashion photographers to explore what they love, instead of what would be socially acceptable.

What lead his work to being so abnormal was his past. Guy Bourdin was a disturbed and complex man. The leading French photographer was obsessed with death, and always had a difficult relationship with women, he was abandoned as a child by his mother, he often maltreated his models, while at least two of his former lovers committed suicide. Bourdin had enough of seeing a pretty girl in pretty clothes in a pretty environment. Instead, he decided to created obscene and voyeuristic scenes that were at once erotic and subversive, a weird mix of death and desire, and the beauty and the beast. This therefore lead Bourdin in to completely remaking the fashion industry. He taught people how to express themselves through fashion with no limits. His work completely deferred from social norms. Bourdin’s photography was sensational, exotic, sinister, provocative, sensual, and surrealistic. His influences included Edward Weston, Luis Buñuel, Balthus, Magritte and Man Ray. Guy Bourdin has been a great inspiration for young photographers working in the fashion industry. 

This is an image of the bottom half of a woman’s body, significant to Bourdin’s style of photography involving his images being overly sexualized. This image suggests a narrative behind this woman as she embeds mystery into the image. Why is she in this position? Was she pushed? Is she looking for something? The two solid colours don’t take the attention away from the woman which makes the sense of mystery even stronger.

Bourdin captures an image that is playful, fresh and bold. It has strong outlines instead of shadows, and bright, vibrant colours instead of dull shadows. This relates to Bourdin’s personality, strong solid colours and objects are straight to the point, like Bourdin, he doesn’t hold back when it comes to his images and fully expresses his personality and creativity when taking his photographs.

The main resemblance between Bourdin and Penn’s images is the strong sense of mystery, firstly in Bourdin’s image where you question why the woman is in that position, and secondly the expression on the woman’s face in Penn’s photograph where she appears stoic, as if she is on the verge of tears.

Bourdin constantly explores colour throughout his images, compared to Penn’s deep, dark shadows and contrast. Penn’s photographs create a sense of misery for the viewer, with the negative expressions and deep tones of grey. This is in contrast to Bourdin’s fun and vivid images that uplift the viewer.

Women have been taught from a young age that there are certain things we can and cannot wear at different stages of our lives. Bourdin influenced women being more free with what they wear. Bourdin was appreciated during a period of time where woman mainly had to do what men told them to do, this involved fashion and what they wore. Bourdin explores nudity and sexualized women within his images. Although some women may have found this offensive, this will also have been a break-through for most women in expressing themselves through fashion.

The way we dress is like communicating without words. Whether we like it or not, people will judge us by our appearance. While we shouldn’t let our self-confidence be affected by the opinions people have of us, what we receive from people throughout our lives will have a huge impact on shaping our identity. Anna Wintour socially influenced this by telling people to dress how you feel, you will not need to explain yourself as your fashion will make you “identifiable to others”. What we wear constructs an identity of how we want people to view us, Wintour explains how you shouldn’t hold back when deciding what to wear, “let it be unique to yourself”.

Bellatory. 2022. Fashion History: Women’s Clothing of the 1950s. [online] Available at: <https://bellatory.com/fashion-industry/Fashion-History-Womens-Clothing-of-the-1950s> [Accessed 9 February 2022].

Plastik Magazine. 2022. FEATURE: GUY BOURDIN – SEXUAL, SENSUAL, & SINISTER — Plastik Magazine. [online] Available at: <https://www.plastikmagazine.com/interview/guy-bourdin> [Accessed 9 February 2022].

Highsnobiety. 2022. Guy Bourdin Biography | Highsnobiety. [online] Available at: <https://www.highsnobiety.com/p/guy-bourdin-biography/> [Accessed 9 February 2022].

Hodgson, F., 2022. The Quizzical Chamois – Irving Penn’s Cranium Architecture. [online] Francis Hodgson. Available at: <https://francishodgson.com/2013/06/18/the-quizzical-chamois-irving-penns-cranium-architecture/#:~:text=Critics%20and%20historians%20of%20the%20work%20of%20Irving,in%20otherwise%20idealized%20still%20life%20pictures%20and%20portraits.> [Accessed 9 February 2022].

Hoffman, B., 2022. How fashion shapes our identity. [online] THE SKIER SCRIBBLER. Available at: <https://skierscribbler.com/7634/ae/how-fashion-shapes-our-identity/#:~:text=Fashion%20shapes%20identity%20in%20a%20multitude%20of%20different,dye%20our%20hair%20or%20get%20a%20new%20piercing.> [Accessed 9 February 2022].

Nast, C., 2022. As “Irving Penn: The Centennial” Opens at the Met, We Consider the Photographer’s Vogue Career. [online] Vogue. Available at: <“>https://www.vogue.com/article/irving-penn-met-museum-vogue-archive> [Accessed 9 February 2022].

the Guardian. 2022. Thirty years at Vogue: how Anna Wintour changed the way the world gets dressed. [online] Available at: <https://www.theguardian.com/fashion/2018/sep/05/30-years-vogue-anna-wintour-changed-way-world-gets-dressed> [Accessed 9 February 2022].

Wilhelm, S., 2022. 10 Ways Anna Wintour Changed The Fashion World For The Best – Society19. [online] Society19. Available at: <https://www.society19.com/ways-anna-wintour-changed-the-fashion-world-for-the-best/#:~:text=Here%20are%2010%20ways%20Anna%20Wintour%20changed%20the,execute%20the%20tasks%20that%20needed%20to%20be%20done.> [Accessed 9 February 2022].

Location: Greve de Lecq

In my final selection I wanted to keep different orientation of images (portrait and landscape) so that I could pick and choose which ones would fir best in the book when I have all my images.

In this shoot I wanted to focus on the landscape and get different angles of the same location in a way trying to tell the story of the landscape. I chose Greve de Lecq because I have some old images from my archive from this location and I wanted to re visit it in the present day focusing on location rather than memories or people.

The lighting in these images is slightly different to what I intended because I wanted a more natural softer light to match my first shoot at St Catherine’s but the weather had changed and the sky was grey. However it is a different location and the images do not look too harsh or high-contrast which can work in the book.

When comparing my images to my artist references this shoot also resembles the work of Shipla Grupta because the focus is on the landscape and she uses similar compositions in her work. When I develop my images further, splitting them and creating double exposures they will relate more to my artist references but for now I am focusing on the compositions and lighting of each image and once I have all my shoots I will start to manipulate them more.

I took images from my own personal family’s photo album of me outside around Jersey. I chose images that have a clear location that I can go back and photograph and certain places that have multiple images. When I go to the locations I will be focusing on the landscape around that certain area. I also chose a few images which did not have other images that matched them, but I picked them with the intention that they could potentially work well alone.

To get them on the computer for editing my photobook I used a tripod which was positioned directly over a blank piece of paper facing downwards towards the ground. I then imported them into Lightroom so that I can edit them.

These are the best unedited images from my documentary photography shoots for my photo book:

I used Adobe Lightroom Classic to edit these photos;

First i imported the images and rated them 1-5 to organise them:

I then used the develop tab to edit the individual photos. I altered the images to look similar to film photography to resemble the style of Paul M Smith’s project ‘Make my Night’:

These are my best edited images from the documentary shoots:

Location: St Catherine’s

I wanted to keep similar images within the final selection so that when I construct my photobook and can choose which compositions work better with the other images in the book.

In this shoot I wanted to focus on the landscape and have different perceptions of the heavily photographed places where people usually get an average sunset picture. I did this shoot to get some interesting images to fill the photobook as I do not have any old photos which link to this location but still wanted to include it because as a family we visit St Catherine’s often and is one of the rare moments where we do something all together.

The soft lighting in these images is something I intend on having in all my future images if possible.

When comparing my images to my artist references this shoot resembles the work of Shipla Grupta, because in her project Altered Inheritances- 100 (Last Name) Stories some of the images in the sequences have a similar composition. In certain images she has focused on one thing and photographed that in the centre of the image, making it the clear focal point.

– How does Jim Goldberg explore childhood through his work

Childhood is seen as being the stages between birth and puberty. Innocent, care-free, happiness and imagination are common words used when describing childhood. There are many stages of childhood, the early stages of a child’s life are when they are learning through observing and communicating with others, usually supported by an adult figure, this forms the beginning of a child’s autonomy. Children start nursery which initiates their social lives and further enhances their communication skills. As a child matures through the different childhood stages they grow into adolescent children and develop massively socially and mentally. They start to make new friends and gain new skills which enables them to become more independent and magnify their own personality and individuality. The onset of adolescence creates various physical, psychological, and behavioural changes. The way a child is brought up and their environment through these stages sets them out for their life.   
Homelessness exposes children to environments that can cause danger to their physical and mental wellbeing. Homeless families often have limited access to health care, vaccinations and basic hygiene practises. Children growing up suffering with homelessness are challenged with stressful and traumatic situations which often they are too young to understand which leads to severe emotional distress and can accumulate over time, creating problems in adulthood. These stressful changes often create a higher result of mental disorders, which become exhibited in homeless children’s behaviour.  
Jim Goldberg explores childhood in the late 19th Century. Goldberg began creating the ideas behind and photographing ‘Raised by Wolves’ in 1985 and later started assembling the book in 1991. Between the years of 1985 and 1991 Goldberg bore witness to chaotic reality of street life in a culture of urban poverty. Goldberg shows childhood in an ‘unusual’ manner and from a perspective that is not usually related to childhood.   
My inspiration for my personal photobook stemmed from Goldbergs ‘Raised by Wolves’ project as I liked his use of a mix of not only images but text and annotations to support his intentions. For my personal study I will be collating my baby photos and objects that have significance to me and photographing them. To create the final outcome of my book I will be using old images, old drawings and diaries and significant objects from my childhood.   

Raised by wolves explores street kids as they endeavour their lives full of addiction, abuse, and violence. Goldberg goes out into the streets of Los Angelos and San Francisco and follows these kids around whilst taking an outsider perspective to his project. Goldberg used half-truths and falsehoods in the children’s stories to reflect what people want or need to believe and leave the book open to peoples own interpretations. Raised by wolves transformed the role that photography played as it highlighted the differences between documentary and narrative and revealing the compromises between myth, history, and identity. As an outsider it was difficult to capture the true emotions and create a sympathetic feel for these kids when he hasn’t experienced their lifestyle. Goldberg used a mixture of images and written text to present the children’s personality, thoughts, and feelings. In an interview Goldberg said “I had always been interested in dialectical arguments, or positions… And when I thought of youth, I thought of my own teenage hood and childhood, and other people I knew who were often scapegoated, not appreciated, or not given a chance. The end result was trouble for them. I wanted to look at those people who were outsiders, like I was..” (Goldberg: 2018). Goldberg experienced a childhood of middle class and wanted to give these children a chance to be heard where they would normally be socially rejected.   

Solomon-Godeau produced an essay discussing and exploring the concept of inside/out. Solomon-Godeau talks about the aspects of being an insider vs an outsider and the affects it can have on the outcome of an image. Within the essay she dissects the different positions, describing being an insider as “trusting, engaged and empathetic” whereas on the contrary she describes being an outsider as “unsympathetic, voyeuristic and distant.” Solomon-Godeau presents an insider as someone who has lived or is living through what they are trying to capture, thus creating an emotional and intimate image. She sees an outsider as someone who is trying to capture something they have not experienced themselves and the images being emotionless.   

These two images from Goldberg and Brodie show the differences being an insider vs being an outsider creates. In Brodies image it shows a more intimate side of the subject, showing where she may sleep or socialise. The subject is looking directly into the camera, looking relaxed and comfortable. Brodies image is raw and intense with emotion. The image is clean with sharp lighting which aids the deep emotions expressed within the image.   
Goldberg images looks like a snapshot taken without much thought or composition. Goldberg’s image has little intimacy as he is capturing a teen walking through the street instead of Brodie who captures his subject within their personal space.   
Being an insider can thoroughly change and adapt the meaning and emotions presented in an image. As an insider a photography is able to build relationships with the subject and allow them to feel comfortable and relate to the photographer. With Brodie his subjects were able to show their real personalities and their environment as he was one of them and understood what they were experiencing. This can enhance an image as the viewers as seeing the subject’s true self’s and make the viewers feel sympathetic towards the subject’s situation rather than judging them for it. Whereas, with an outsider’s perspective the subject may be putting on some form of an act as this is a new person. They may act and show emotions differently to how they really feel day to day. The subject may not feel comfortable with the photographer and therefore may be reserved and help back which would not properly present the true emotions and meaning behind the images. From a photographer’s perspective they may not fully be able to capture their ideas fully as they have not experienced that themselves, so they are just photographing based off society’s stereotypes and views on that matter. In regard to, Jim Goldberg, he uses text to let his subjects describe their own experiences with their own words to try and gain an insider perspective.   

Goldberg found a specific interest in the lives of two boys named Dave and Echo, he was intrigued by their likeable personalities and their crowds of friends. He began to form a close relationship with these two teens and became immersed in their lives. Dave and Echo were two fascinating but extremely troubled runaways. Dave described his highly Christian parents as a junkie slut and a biker from hell, although untrue the representation seemed fitting for a couple who then went on to turn their back on their dying son. Goldberg uses narratives to give more of a close formed relationship between the subject and the viewer. The narrative makes the viewer feel empathy for the subject rather than judging them. Goldberg challenges the norm and the stigma behind homeless, troubled youths and creates a different image for the viewers.  
Dave and Echo have a special part within the book as they talk more deeply about their childhood and their upbringings which Goldberg presents in an interview manor. Goldberg uses a collection of photographs, pieces of conversations, handwritten notes, drawings, snapshots, and the routine of daily life to show these children’s childhood and how their lives and routines is completely different to most teens their age. He presents their personalities, histories, and dreams to give these teens equal attention, and allowed them to present themselves in their own words allowing them to properly express their feelings when they may have not normally had the opportunity.  
Although Goldberg does not present a typical childhood, he is capturing the childhood and day to day lives of teens with an unusual life.   

In conclusion, Goldberg’s photobook ‘Raised by wolves’ presents childhood in an unusual way and presents children and youths who would typically not been given a chance. Goldberg uses a combination of images, text and diary entries to represent the youth’s thoughts, views and emotions. Goldberg takes an outsider’s approach to Raised by Wolves as he has never experienced that type of lifestyle which is a hard approach to take when trying to present a group of ‘socially rejected’ people which is why he supports his images with text so the subjects themselves so he can also gain an insider’s view. Goldberg’s book is similar to Mike Brodies photobook “‘A period of Juvenile Prosperity” in the fact they both went out exploring and capturing runaway homeless teens. However, Brodie takes an insider’s approach as he was one of the homeless teens and therefore he just captured the people he was surrounded by and the environments which they stayed in. The difference between and outsiders’ perspective can entirely change the way a viewer interprets the book and the emotions presented from the subjects. Solomon-Godeau discusses this concept within her essay ‘Inside/out,’ discussing the different concepts and how this can affect one’s images and final outcome. 

Bibliography

Solomon-Godeau, A. (1994), Public Information Desire, Disaster, Document. San Francisco: SFMOMA.

Jim Goldberg (2018), Magnum Photos, A Completely True Work of Fiction.

Jim Goldberg (2021), Magnum Photos, Fingerprint: Tracing the Roots of Jim Goldberg’s Raised by Wolves.

Miss Rosen (2021) Blind magazine, Tracing the Roots of Jim Goldberg’s “Raised by Wolves”.

Narrative: What is your story?

3 words

Mental Health Disorder

A sentence

To show the effects of mental health through the use of photography.

A paragraph

The story of my photobook is to show the viewers how emotions cannot just be read from the face but can be from the body. I want to show these mental health disorders through my photography in a dramatic way, discarding the colour and having the white dress as the focus as a sense of purity and cleanness yet juxtaposes how the mind is. The self portraits would consist of photos in different locations such as a forest, an abandoned building and the inside of my own home.

Design: Consider the following

Paper and ink

Smooth, semi-matte finish with up to 440 photos.

Format, size and orientation

Sizing of the book to be 8×10 in, 20×25 cm.

Binding and cover

Printed on the front cover, back cover, and spine. Gloss finish with no cover flaps.

Title 

The White Dress

Design and layout

With the photobook I will have a selection of double page spread images, juxtaposition and a few sequences on a page spread.

Editing and sequencing

There will be a sequence of black and white self portraits in different places starting with trees, to an abandoned building to then inside showing the journey of mental health.

Images and text

With the new selection of images I will add some text which would consist of maybe a quote or some understanding of my story.

Photobook Mood Board